Ariadne on Naxos in the Press

“An elegant, polished account of Strauss’ miraculous score”
John Von Rhein, The Chicago Tribune – June, 2016
“It’s the comedians that dance away with the show. Leading them are So Young Park’s pretty and charming Zerbinetta and John Brancy’s nimble Harlequin… Keeping things crisply animated in the pit is conductor Rory Macdonald, who draws an elegant, polished account of Strauss’ miraculous score from the orchestra.”

“Marjorie Owens is a force of nature, with a rich voice of wide range… well-nigh perfect.”
Sarah Bryan Miller, St. Louis Post-Dispatch – June, 2016
“A marvelous blend of high art and low comedy, with rafts of terrific music along the way… Soprano Marjorie Owens is a force of nature… So Young Park made the role’s endless coloratura sound effortless… AJ Glueckert, the Tenor/Bacchus, was vocally impressive with good presence; he and Owens made truly beautiful music together… The Dancing Master, Matthew DiBattista, and rest of the troupe (Benjamin Lee, Miles Mykkanen, Erik Van Heyningen) were masters of visual comedy.”

“As playful as a box of puppies… a daffy, delicious evening”
James Sohre, Opera Today – June, 2016
“Scintillating… If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you… a daffy, delicious evening of high-minded chicanery… So Young Park almost ran off with the show… petite, pretty, and sings the spots off the page. Her effortless coloratura is deployed with jaw-dropping accuracy... As the Prima Donna and Ariadne, Marjorie Owens is the real deal… her sense of line and musicality urged phrases to mounting abandon that were so thrilling as to raise goose bumps.”

“A simply perfect production… Such vocally gymnastic wonders!”
Steve Callahan, KDHX Radio – June, 2016
“Opera Theatre of St. Louis has opened a simply perfect production… Stage director Sean Curran and his designers -- James Schuette (sets), Amanda Seymour (costumes) and Christopher Akerlind (lighting) -- deserve enormous praise for so sensitively capturing the odd heart of this beautiful opera... the queen of this production -- the singer who will make you swallow your gum -- is So Young Park as Zerbinetta… Miss Park sings a simply astonishing coloratura aria… Such vocally gymnastic wonders! She sings one high note that I think she must have invented, for surely nothing so high has ever been sung before.”

“Impressive… opulent… the audience had fun.”
Heidi Waleson, The Wall Street Journal – June, 2016
“The four capable principals were tenor AJ Glueckert, impressive in the punishing role of Bacchus; So Young Park as a pert Zerbinetta; Marjorie Owens as an opulent Ariadne; and Cecelia Hall as a youthful Composer… the high points of the evening were the moments when Harlequin (John Brancy) and the other three men of Zerbinetta’s troupe (Erik Van Heyningen, Benjamin Lee and Miles Mykkanen), attempting to cheer up the deserted Ariadne, not only sang, but danced Mr. Curran’s ambitious choreography. They didn’t persuade her, but the audience had fun.”

 “Park was transcendent as the philosophical coquette.”
Jay Harvey, Jay Harvey Upstage – June, 2016
“Stage director Sean Curran immediately signals his knack for controlled peppiness… The clash of energy and egos is unrelenting… Cecelia Hall's… gleaming mezzo and rapt facial expressions were all of a piece in this characterization… [So Young] Park was transcendent as the philosophical coquette… [Rory] Macdonald conducted with keen attention to the limitless Straussian virtuosity of style and suggestion.”